A mí parece que todo lo que sea una "contestación" frente a la deriva de determinados directores de escena, que no solo desvirtúan el sentido musical último de la obra sino que además traicionan el texto en el que esta está escrita (con el único fin de mostrarnos "su interpretación" y hacer de su capa un sayo), pues me resulta un ejercicio de honestidad y, al tiempo, de profilaxis para con lo que se nos está viniendo encima.

https://www.europapress.es/internacional/noticia-soprano-anna-netrebko-demanda-met-opera-perder-trabajo-apoyo-putin-20230805074416.html

Musical summers in New York may never have been as rich as they were in the first two decades of the current century, when the Mostly Mozart Festival, under the leadership of Jane Moss, and the Lincoln Center Festival, under Nigel Redden, vied with each other in the conjuring of lavishly varied seasons.
[...]
Those days are gone. The Lincoln Center Festival shut down in 2017; Mostly Mozart finished expiring this month. Lincoln Center’s programming division, which is distinct from the Metropolitan Opera, the New York Philharmonic, New York City Ballet, and other resident organizations, is concentrating its energies on a series called “Summer for the City.” A press release describes the range of offerings: a celebration of the fiftieth anniversary of hip-hop; the Criminal Queerness Festival; a series called “Cultivating Access Ecologies”; Korean Arts Week; “social sculpture interventions”; “participatory movement and mindfulness sessions”; Big Umbrella Day, geared toward neurodiverse audiences; standup comedy; games spaces; silent discos, with revellers wearing headphones; and “the world’s first LGBTQIA+ mariachi group.” The farewell season of the Mostly Mozart Festival Orchestra, which once played for seven weeks or more a year, consisted of thirteen concerts in the course of three weeks.
[...]
For the most part, though, Timms and Thake seem fundamentally out of step with Lincoln Center and its public, both extant and potential. When people make the trip to Broadway and Sixty-fifth, they surely aren’t looking for an awkward transplantation of cultures that exist in more authentic form elsewhere in the city. They more likely want an encounter with something radically other—a world distant in time or space.

César Wonenburger entrevista a Leo Nucci:

https://www.eldebate.com/cultura/musica ... =fixed-btn

César Wonenburger entrevista a Leo Nucci:

https://www.eldebate.com/cultura/musica ... =fixed-btn

Triste noticia : retirada fulminante del magnífico heldentenor Stephen Gould de apenas 61 años, al detectársele un grave problema oncológico. Suerte y salud, Mr. Gould!

When it comes to the Ring, Kosky argues, there’s no point straining for contemporary relevance. “Masterpieces do it themselves — that’s the joy with Wagner, and in virtually every line you go: ‘Oh God, well, that could be now.’ The challenge is to not then double it on the stage and just make everything domestic, everything contemporary. There are now as many clichés of contemporary Wagner productions as there are of spear-carrying and horned helmets.”